Uploaded August 2025 | Updated September 2026, 2 weeks ago
English Cornett and Sackbut Ensemble & I Fagiolini Ensemble conducted by Robert Hollingworth.
I - 0:00
Gabrieli's "Sacri di Giove augei sacre Fenici" was published in Volume II of "Concerti di Andrea et di Giovanni Gabrieli" in Venice on 1587, a volume mostly dedicated to the works of his uncle Andrea Gabrieli, but also includes Giovanni's first motets. These early works show much influence of his uncle's style in the use of dialogue and echo effects. In its original form, it is scored for a single choir of twelve voices a cappella. The madrigal exemplifies the Venetian polychoral style adapted to the secular madrigal tradition. The text, in Italian, is a lofty encomium invoking "sacred birds of Jove" and "sacred phoenixes" as metaphors for illustrious heroes whose virtues and deeds are celebrated by nymphs, shepherds, and gods.
Just as many European composers beat a trail to Venice to study with the renowned musicians there, the Venetian Giovanni Gabrieli’s earliest studies were with his uncle Andrea, at St Mark’s, before he travelled north to Munich to learn from the esteemed and influential Orlando de Lassus. Returning to Venice, he was appointed to St Mark’s as organist and subsequently, following his uncle’s death, as principal composer. Gabrieli's career rose further when he took the additional post of organist at the Scuola Grande di San Rocco, another post he retained for his entire life. San Rocco was the most prestigious and wealthy of all the Venetian confraternities, and second only to San Marco itself in the splendour of its musical establishment.
The madrigal's allegorical imagery situates the work in the late Renaissance culture of courtly praise, where mythological references conveyed political or dynastic homage. The 12 parts of the chorus are often grouped antiphonally, creating dynamic exchanges and echo effects, while moments of full ensemble writing deliver sonorous climaxes. Gabrielli's harmonic language blends the modal clarity of Renaissance counterpoint with expressive chromatic inflections, enhancing the text’s grandeur. Substantial word-painting is employed through the piece: rising figures depict "al ciel poggiate" ("you rise to the heavens") or how sustained harmonies evoke the idea of eternal fame.
The madrigal begins by calling on "sacred birds of Jove" (poetic shorthand for eagles) and "sacred phoenixes" to bear witness to the virtues of the person being honoured. Gabrieli underscores this ceremonial tone with majestic, open‑fifths sonorities, giving the sense of a formal proclamation. The melodic lines rise prominently on words about divinity and loftiness, musically depicting ascent. Then the text moves to pastoral and mythological figures who "sing of your immortal fame". The music shifts to a dynamic of exchanges between upper and lower voices, which could mirror the idea of different realms (earthly shepherds and divine beings) united in praise. Moments of syncopated imitation highlight verbs of action, giving rhythmic lift to the scene. As the poem turns toward ideas of everlasting renown (al ciel poggiate / "to the heavens you ascend"), Gabrieli crafts long, arching lines that climb stepwise, often holding the peak note before cascading down in rich, full-ensemble chords. The texture thickens, the harmonic rhythm slows, and dissonances resolve in broad cadences, all of which create a feeling of timeless suspension, fitting for the imagery of immortal glory.
[Activate subtitles to see the lyrics in Latin/English].
Picture: "Perseus freeing Andromeda" (c. 1575-80) by the Italian painter Paolo Veronese.
Sources: tinyurl.com/2chnmus3 and Copilot GPT-5
To check the score: tinyurl.com/26adbg2d
English Cornett and Sackbut Ensemble & I Fagiolini Ensemble conducted by Robert Hollingworth.
I - 0:00
Gabrieli's "Sacri di Giove augei sacre Fenici" was published in Volume II of "Concerti di Andrea et di Giovanni Gabrieli" in Venice on 1587, a volume mostly dedicated to the works of his uncle Andrea Gabrieli, but also includes Giovanni's first motets. These early works show much influence of his uncle's style in the use of dialogue and echo effects. In its original form, it is scored for a single choir of twelve voices a cappella. The madrigal exemplifies the Venetian polychoral style adapted to the secular madrigal tradition. The text, in Italian, is a lofty encomium invoking "sacred birds of Jove" and "sacred phoenixes" as metaphors for illustrious heroes whose virtues and deeds are celebrated by nymphs, shepherds, and gods.
Just as many European composers beat a trail to Venice to study with the renowned musicians there, the Venetian Giovanni Gabrieli’s earliest studies were with his uncle Andrea, at St Mark’s, before he travelled north to Munich to learn from the esteemed and influential Orlando de Lassus. Returning to Venice, he was appointed to St Mark’s as organist and subsequently, following his uncle’s death, as principal composer. Gabrieli's career rose further when he took the additional post of organist at the Scuola Grande di San Rocco, another post he retained for his entire life. San Rocco was the most prestigious and wealthy of all the Venetian confraternities, and second only to San Marco itself in the splendour of its musical establishment.
The madrigal's allegorical imagery situates the work in the late Renaissance culture of courtly praise, where mythological references conveyed political or dynastic homage. The 12 parts of the chorus are often grouped antiphonally, creating dynamic exchanges and echo effects, while moments of full ensemble writing deliver sonorous climaxes. Gabrielli's harmonic language blends the modal clarity of Renaissance counterpoint with expressive chromatic inflections, enhancing the text’s grandeur. Substantial word-painting is employed through the piece: rising figures depict "al ciel poggiate" ("you rise to the heavens") or how sustained harmonies evoke the idea of eternal fame.
The madrigal begins by calling on "sacred birds of Jove" (poetic shorthand for eagles) and "sacred phoenixes" to bear witness to the virtues of the person being honoured. Gabrieli underscores this ceremonial tone with majestic, open‑fifths sonorities, giving the sense of a formal proclamation. The melodic lines rise prominently on words about divinity and loftiness, musically depicting ascent. Then the text moves to pastoral and mythological figures who "sing of your immortal fame". The music shifts to a dynamic of exchanges between upper and lower voices, which could mirror the idea of different realms (earthly shepherds and divine beings) united in praise. Moments of syncopated imitation highlight verbs of action, giving rhythmic lift to the scene. As the poem turns toward ideas of everlasting renown (al ciel poggiate / "to the heavens you ascend"), Gabrieli crafts long, arching lines that climb stepwise, often holding the peak note before cascading down in rich, full-ensemble chords. The texture thickens, the harmonic rhythm slows, and dissonances resolve in broad cadences, all of which create a feeling of timeless suspension, fitting for the imagery of immortal glory.
[Activate subtitles to see the lyrics in Latin/English].
Picture: "Perseus freeing Andromeda" (c. 1575-80) by the Italian painter Paolo Veronese.
Sources: tinyurl.com/2chnmus3 and Copilot GPT-5
To check the score: tinyurl.com/26adbg2d
